Erik Hall - Solo Three - COMPACT DISCS [CD]
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The slyly absorbing new volume from Michigan-based musician Erik Hall understands the contemplative joy in repetition. Solo Three is the culmination of what Hall describes as a loose trilogy, following his radical reinterpretation of Steve Reich's minimalist masterpiece Music for 18 Musicians, and his subsequent rendition of Simeon ten Holt's Canto Ostinato, a winding work of Dutch minimalism.This time, Hall boldly reimagines works by four distinct contemporary classical composers Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and, again, Steve Reich. It is a particular grouping that exists through Hall's singular lens for magnetic repetition and harmonic resonance. The resulting program unravels subtly but masterfully, each piece a kind of contrapuntal bliss a touch livelier than the last, all building to the Reich-ian reprise-an apt bookend to the series.Altogether, Hall has crafted a richly varied homage to four pillars of American minimalism, an elegant mix of accessibility and discovery. As ever, he performed and multitrack-recorded all the parts himself without loops, programming, or sequenced instruments, his solitary method still arguably novel to the classical canon. Meanwhile, within the context of modern production, this analog approach works as a gentle rebellion against a culture of faceless automation, instilling these recordings with a flesh-and-blood human touch. InchIt's just so much more interesting to actually play every note,Inch Hall says. InchYou then get them directly juxtaposed, and as they repeat, all of those micro-differences between them create a sort of living, breathing magic.InchThat living, breathing magic imbues every crevice of Solo Three, making it not just a stirring tribute to four giants of 20th-century minimalism, but a reflection of how their influence continues to reverberate today.
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- GenreClassicalDescriptionThe slyly absorbing new volume from Michigan-based musician Erik Hall understands the contemplative joy in repetition. Solo Three is the culmination of what Hall describes as a loose trilogy, following his radical reinterpretation of Steve Reich's minimalist masterpiece Music for 18 Musicians, and his subsequent rendition of Simeon ten Holt's Canto Ostinato, a winding work of Dutch minimalism.This time, Hall boldly reimagines works by four distinct contemporary classical composers Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and, again, Steve Reich. It is a particular grouping that exists through Hall's singular lens for magnetic repetition and harmonic resonance. The resulting program unravels subtly but masterfully, each piece a kind of contrapuntal bliss a touch livelier than the last, all building to the Reich-ian reprise-an apt bookend to the series.Altogether, Hall has crafted a richly varied homage to four pillars of American minimalism, an elegant mix of accessibility and discovery. As ever, he performed and multitrack-recorded all the parts himself without loops, programming, or sequenced instruments, his solitary method still arguably novel to the classical canon. Meanwhile, within the context of modern production, this analog approach works as a gentle rebellion against a culture of faceless automation, instilling these recordings with a flesh-and-blood human touch. InchIt's just so much more interesting to actually play every note,Inch Hall says. InchYou then get them directly juxtaposed, and as they repeat, all of those micro-differences between them create a sort of living, breathing magic.InchThat living, breathing magic imbues every crevice of Solo Three, making it not just a stirring tribute to four giants of 20th-century minimalism, but a reflection of how their influence continues to reverberate today.ArtistErik HallTitleSolo ThreeFormatCDLabelWestern Vinyl
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The slyly absorbing new volume from Michigan-based musician Erik Hall understands the contemplative joy in repetition. Solo Three is the culmination of what Hall describes as a loose trilogy, following his radical reinterpretation of Steve Reich's minimalist masterpiece Music for 18 Musicians, and his subsequent rendition of Simeon ten Holt's Canto Ostinato, a winding work of Dutch minimalism.This time, Hall boldly reimagines works by four distinct contemporary classical composers Glenn Branca, Charlemagne Palestine, Laurie Spiegel, and, again, Steve Reich. It is a particular grouping that exists through Hall's singular lens for magnetic repetition and harmonic resonance. The resulting program unravels subtly but masterfully, each piece a kind of contrapuntal bliss a touch livelier than the last, all building to the Reich-ian reprise-an apt bookend to the series.Altogether, Hall has crafted a richly varied homage to four pillars of American minimalism, an elegant mix of accessibility and discovery. As ever, he performed and multitrack-recorded all the parts himself without loops, programming, or sequenced instruments, his solitary method still arguably novel to the classical canon. Meanwhile, within the context of modern production, this analog approach works as a gentle rebellion against a culture of faceless automation, instilling these recordings with a flesh-and-blood human touch. InchIt's just so much more interesting to actually play every note,Inch Hall says. InchYou then get them directly juxtaposed, and as they repeat, all of those micro-differences between them create a sort of living, breathing magic.InchThat living, breathing magic imbues every crevice of Solo Three, making it not just a stirring tribute to four giants of 20th-century minimalism, but a reflection of how their influence continues to reverberate today.
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A re-interpretation so often comes from an impulse, even if subliminal, of one-upmanship - let me do better, wait 'til you hear it my way. Sometimes though, and it happens too rarely, the cover is an act of devotion in which a musician's humility produces something more beautiful than bravura could. When Erik Hall undertook his painstaking reconstruction of Steve Reich's 1976 masterpiece of minimalism, Music for 18 Musicians, it was as much an exercise in modesty as ambition. With it's repetitions and complex constructions, the piece makes great demands on stamina and concentration, and Reich himself advised that these challenges meant it should probably be performed with more than eighteen musicians. Hall, however, recorded every part himself in his small home studio, playing instruments he had on hand, in live, single takes. Here, then is the ambition. But here too is the modesty by doing one section a day, one instrument at a time, he made his way through this monumental piece, building a faithful and loving re-creation, one sonic brick at a time. Xylophone becomes muted piano, violin becomes electric guitar and so it is that music for eighteen becomes music for one. InchI didn't want the differences to be distracting, or gimmicky,Inch says Hall, who's loved the piece for as long as he can remember. InchI wanted it to be true to the timbre and spirit of the original recording,Inch and he thought a great deal about, Inchhow I would shape the tone of each instrument, to come across with the same impact that we know the piece to have.Inch His methodology, as with Reich's piece itself, is workmanlike, and it's from this humble and steadfast undertaking that something honest and radiant emerges.
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